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UNIVERSITY of LONDON THESIS J\Lv& AA REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree ^ Year Name of Author (_0 ^ 0 \ j\lV & A A COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting this thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOANS Theses may not be lent to individuals, but the Senate House Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: Inter-Library Loans, Senate House Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the Senate House Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The Senate House Library will provide addresses where possible). B. 1962-1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975-1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D. This copy has been deposited in the Library ___________o f This copy has been deposited in the Senate House Library, Senate House, Malet Street, London WC1E 7HU. Jewry in Music” Jewish Entry to the Musical Professions 1780-1850 David Conway, M.A. Department of Hebrew and Jewish Studies University College London Supervisor: Prof. John Klier Thesis submitted for the degree of Doctor of Philosophy (Ph.D.) at the University of London June 2007 UMI Number: U591449 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591449 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Summary of Thesis In 1800 hardly any Jews were involved in 'musique savante'. Within 50 years in Western Europe they were to be found in active roles in almost every aspect of the music economy, as performers, composers, publishers, critics and instrument-makers. Whilst this phenomenon has been widely noted, it presently lacks an academic analysis. The dissertation sets the entry of Jews to the musical professions in a number of contexts; the political, social and economic circumstances of European states; Jewish culture and ‘transferable skills’; ‘emancipation’ of European Jews and their entry to wider society; reforms in the Jewish religion and liturgy; the Romantic and nationalists movements of the era; the growth of a music ‘industry’ and the consequences of developments in technology, changing audiences and patrons, and the emergence of a ‘classical music’ canon. Beginning with a survey of the principal issues to be discussed and a summary of the status of Jews in music in the early and mid-eighteenth centuries, the dissertation examines the emergence of Jewish musical involvement in five European societies - the Netherlands, England, Austria, Germany and France - and notes the underlying factors, some of which were common to all, some of which were country-specific. Within these surveys extended treatment is given to significant figures - not only the famous such as Mendelssohn, but also the less well-known such as Alkan and Nathan. Consideration is given not only to the activities of Jews in music, but to the ‘reception’ of these activities by their contemporaries, and to the broader social implications of these activities. The dissertation concludes with a review of the status and achievements of Jews in music in Western Europe on the eve of the publication of Richard Wagner's essay Das Judentum in der Musik' in 1850. 2 “// n'y a que trois ‘B ' dans la musique - Bach, Beethoven et Brahms - les autres sont cretins. " - attributed to the pianist and conductor Hans von Biilow (1 830-1894) ‘7/ n'y a que trois ‘M’ dans la musique - Mendelssohn, Meyerbeer et Moszkowski - les autres sont chretiens. " - attributed to the pianist and composer Maurice Moszkowski (1 854-1925)' 1 See van Dieren (1935) 8. 3 Contents I. Scope, Intention and Structure of this Study 1.1 ‘Whatever the reasons’ 6 1.2 Processes of Change: A Very Brief Review 19 1.3 Judentum 23 1.4 Structure 27 II. ‘Eppes Rores’ - Can a Jew be an Artist? Introduction 29 II. 1 Jewish Musical Life in Europe Before the Period of Emancipation 31 11.2 Transferable Skills 45 11.3 Can a Jew Have Taste? 47 11.4 Civic Status and the Quest for Culture 57 11.5 Words and Music - Da Ponte and Heine 69 III. In the Midst of Many People 111.1 Musical Europe 73 111.2 The Netherlands 111.2.1 Early Immigration 78 111.2.2 The Sephardi Magnates 80 111.2.3 Economic Decline of the Netherlands and Advent of the 82 Ashkenazim 111.3 England 111.3.1 Re-entry of Jews to England 85 111.3.2 Overview: English Musical Life in the Eighteenth 86 Century 111.3.3 Handel and the Jews 88 111.3.4 Jewish Musicians in Eighteenth Century London 90 111.3.5 Myer Lion alias Michael Leoni 99 111.3.6 John Braham 111.3.6.1 His Putative Origin and Musical Siblings 103 111.3.6.2 His Early Career 108 111.3.6.3 ‘Family Quarrels’ 112 111.3.6.4 Braham as a Gentile 117 111.3.7 Isaac Nathan and the ‘Hebrew Melodies’ 121 111.3.8 British Jews in Musical Life, 1825-1850 135 111.3.9 German Jews in British Music 140 111.3.10 The West End 151 111.4 Austria Introduction 155 111.4.1 Vienna’s ‘Second Society’, 1780-1815 157 111.4.2 Jewish Musicians in Beethoven’s Vienna 164 111.4.3 Beethoven’s Circle 170 111.4.4 Salomon Sulzer 173 111.4.5 Rosenthal and Gusikov - Jewish Musician as Patriot and 177 Patriarch 111.5 Germany Introduction 185 4 111.5.1 Berlin: The Itzig Family and its Circle 187 111.5.2 Berlin’s Jews 1780-1815: the Salons and After 191 111.5.3 Music in the Reformed Congregations, and in the 200 ‘Counter-Reformation’ 111.5.4 Meyerbeer’s Musical Apprenticeship 205 111.5.5 The Education of Felix and Fanny Mendelssohn 212 111.5.6 Jewish Activists in German Music 218 III.5.9 Schumann and Wagner on Jews 236 III.6 France Introduction 245 111.6.1 Paris as a Centre 111.6.1.1 The Jews of Paris 248 111.6.1.2 The Consistorial Synagogue and its Music 251 111.6.1.3 Musical Theatre in Paris in the 1820s 253 111.6.1.4 The Conservatoire 254 111.6.2 Fromental Halevy 111.6.2.1 Progress of an Israelite 256 111.6.2.2 ‘La Juive’ 263 111.6.2.3 Halevy and the Jewish Community 266 111.6.3 Alkan 111.6.3.1 The Early Years 273 111.6.3.2 The Years of Fame (1830-1850) and After 278 111.6.4 German Jews in Musical Paris 285 111.6.5 Meyerbeer and the Triumph of Grand Opera 111.6.5.1 Meyerbeer in Italy 296 111.6.5.2 The Supremacy of Meyerbeer 301 IV Jewry in Music 311 — 000— Appendix I: Jews, Music and Romanticism 321 Appendix II: Individual approaches to Judaism: Meyerbeer, Mendelssohn, Alkan 1. Meyerbeer: Devotion and Confidence 328 2. The Jewish Ambience of Felix Mendelssohn 335 3. Alkan: ‘I sleep but my heart waketh’ 345 — 000— Afternote 353 — 000— Bibliography 354 — 000— Annex I: Partial Family Trees of the Beers, Itzigs and Mendelssohns 377 Annex II: Timelines 387 5 Jewry in Music I. Preface: Scope, Intention and Structure I. Scope, Intention and Structure of this Study 1. ‘Whatever the reasons’ ‘Whatever the reasons’ writes Leon Poliakov incuriously, ‘in the realms of the fine arts, it was primarily as musicians that the emancipated Jews excelled’.2 But exactly why did Jews suddenly become apparent within the music profession from the turn of the nineteenth century onwards? Why moreover did they meet, within the century, with such success as to hold notable positions within almost all branches of the profession - and in associated areas including management, publishing and patronage? In casual conversation on these questions, the writer has often been met with a reaction of surprise, or even exasperation, by both Jewish and Gentile interlocutors, on the grounds that such progress was only to be expected from a people (‘race’ of course remains the unspoken word) with natural musical talent. But the conventional wisdom that Jews are especially musically gifted seems to have emerged fully-formed during the nineteenth century - it certainly did not exist, even amongst the Jews themselves, before that.
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